Comparisons, n°4/2007Porównaniahttp://porownania.amu.edu.pl/index.php?option=com_content&view=category&id=39&Itemid=91&lang=en
Tue, 26 Sep 2017 21:35:28 +0000Joomla! 1.5 - Open Source Content Managementen-gbAn Outline of the Paradigmatic Method in Comparative Studies (I)http://porownania.amu.edu.pl/index.php?option=com_content&view=article&id=109%3Azarys-metody-pragmatycznej-w-badaniach-porownawczych&catid=39%3Aporownania-nr-4&Itemid=91&lang=en
http://porownania.amu.edu.pl/index.php?option=com_content&view=article&id=109%3Azarys-metody-pragmatycznej-w-badaniach-porownawczych&catid=39%3Aporownania-nr-4&Itemid=91&lang=enHenry Remak’s proposal, that reach beyond literary comparisons only, and reference to the notion of cultural texts allows for a broader understanding of comparative studies. In this spirit I present the comparative method which refers to two types of myths and the corresponding desacralised indicators of time and space in the form of paradigms put forward by Eliade. The origin myth and the modern myth, at this point signed with the figures of Nature and God, allow to perceive the world from the inside as dynamic (metamorphosis) or from the outside as static (governed by law). The corresponding desacralised paradigms permit to retrieve the basic indicators of time and space. The circular paradigm expresses time in form of units of circular recurrences and shows space as a whole based on the coincidentia oppositorum principle. On the other hand, the linear paradigm presents the holistic rectilinear time and the hierarchical space which separates units. In cultural works, to start with science and end with literature studies, echoes of particular myths and methods of organisation through the above mentioned paradigms of time and space are retrieved in a way that complies with the specificity of fields of interest (the physical, biological, psychological world, the consciousness, the unconsciousness, the featured world, the organisation of the work and historical changes), which allows to perceive the distinctness of their concrete realisations and treat them as tertium comparations. The possibility of applying this method in art, including literature, is signalised here as well

ISSN: 1733-165X

]]>emilka@amu.edu.pl (Wiśniewska, Lidia)„Porównania” nr 4Thu, 05 Jan 2012 22:07:17 +0000The Ukrainian Cinema of the 1990s. In Search for Identityhttp://porownania.amu.edu.pl/index.php?option=com_content&view=article&id=108%3Aukraiskie-kino-lat-90-xx-wieku-w-poszukiwaniu-tosamoci-narodowej&catid=39%3Aporownania-nr-4&Itemid=91&lang=en
http://porownania.amu.edu.pl/index.php?option=com_content&view=article&id=108%3Aukraiskie-kino-lat-90-xx-wieku-w-poszukiwaniu-tosamoci-narodowej&catid=39%3Aporownania-nr-4&Itemid=91&lang=enThe Ukrainian cinema, starting from the 1930s and with a short Chrustchev glasnost’, was subject to strong russification aimed at a consistent eradication and destruction of the Ukrainian national identity. It is only towards the end of the 1980s and the beginning of the 1990s – along with the fall of the Soviet empire and the Ukrainian political, national and cultural rebirth and on the wave of widespread discussion about the state and role of the Ukrainian national identity – that the Ukrainian cinema brought a series of promising domestic cinema debuts. Unfortunately, the artists having their debut in the days of transformation of the 1930s did not manage to formulate their own distinct artistic platform. In addition, scant state support offered declarations rather than real and effective [aid both in the legal and the financial areas], which did not contribute to the active development of domestic cinematography. A complex linguistic situation that devalued the Ukrainian language to the advantage of the Russian language, had an adverse effect on the Ukrainian cinema of those days [including the Ukrainian TV, radio or the press]. Both these and a number of other factors led to the close death of the national cinematography in Ukraine towards the end of the 1990s. The situation changed only with the change of power in 2000 when V. Yushchenko’s government financed all the films planned for 2000. At the time the public was able to see films such as Molytva za het'mana Mazepu directed by Yurij Illienko, Mamaj directed by Ołes’ Sanin, Druhoriadni liudy directed by Kira Muratova, or Chorna rada directed by Mykola Zasieiev -Rudenko.

ISSN: 1733-165X

]]>emilka@amu.edu.pl (Matusiak, Agnieszka)„Porównania” nr 4Thu, 05 Jan 2012 22:05:29 +0000Romanian Melancholy – Thoughts on the Romanian Cinemahttp://porownania.amu.edu.pl/index.php?option=com_content&view=article&id=107%3Arumuska-melancholia-refleksja-o-kinie-rumuskim-po-roku-1989&catid=39%3Aporownania-nr-4&Itemid=91&lang=en
http://porownania.amu.edu.pl/index.php?option=com_content&view=article&id=107%3Arumuska-melancholia-refleksja-o-kinie-rumuskim-po-roku-1989&catid=39%3Aporownania-nr-4&Itemid=91&lang=enRegaining the longed-for freedom in the social sense enabled the artists to talk freely about painful issues, maladjustment to new conditions and uncontrollable desires for wealth and luxury. Nevertheless, Romanian films avoid the pathos of the socially engaged cinema without losing the optics of the characters entangled in the new unknown system. The seriousness of the topics presented in these films did not deprive the makers of the idiosyncratic sense of humour, irony and distance.

ISSN: 1733-165X

]]>emilka@amu.edu.pl (Kulig, Agnieszka)„Porównania” nr 4Thu, 05 Jan 2012 22:04:12 +0000The Russian National Identity versus the Modernisation of the Literaturehttp://porownania.amu.edu.pl/index.php?option=com_content&view=article&id=106%3Arosyjska-tosamo-narodowa-wobec-modernizacji-literatury&catid=39%3Aporownania-nr-4&Itemid=91&lang=en
http://porownania.amu.edu.pl/index.php?option=com_content&view=article&id=106%3Arosyjska-tosamo-narodowa-wobec-modernizacji-literatury&catid=39%3Aporownania-nr-4&Itemid=91&lang=enThe author sets about the task of presenting selected aspects of modernisation of the contemporary Russian literature in the perspective of broader cultural and social phenomena. Modernisation, by reference to Jerzy Święch, is understood as a process of identity changes initiated by the 19th century modernism and presently realised as post-modernism. In his considerations of the development and nature of the said process the author underscores the role of the Russian intelligence as a social class responsible for its distortions. It concerns cultural imperialism whose most important manifestations are exposed on the grounds of contemporary postcolonial research. Russian post-modern literature is seen in the article as a realm in which traditional values of the Russian culture, such as e.g. its sensitivity to general truths, clash with more and more explicit tendencies to annul or adapt them to new circumstances in post-Soviet Russia.

ISSN: 1733-165X

]]>emilka@amu.edu.pl (Nakoneczny, Tomasz)„Porównania” nr 4Thu, 05 Jan 2012 22:03:17 +0000Ressentiment in the Postcolonial Perspective. The Ukrainian Casehttp://porownania.amu.edu.pl/index.php?option=com_content&view=article&id=105%3Aressentiment-w-perspektywie-postkolonialnej-przypadek-ukraiski&catid=39%3Aporownania-nr-4&Itemid=91&lang=en
http://porownania.amu.edu.pl/index.php?option=com_content&view=article&id=105%3Aressentiment-w-perspektywie-postkolonialnej-przypadek-ukraiski&catid=39%3Aporownania-nr-4&Itemid=91&lang=enThe author uses the notion of ressentiment developed by F. Nietzsche, M. Scheler and A. Camus. She understands ressentiment as a psychosocial form of relations of the weaker with the stronger, the dominant with the enslaved, which describes the state (process) of liberation from the power of somebody else’s glance and a subjugating system of values. The author transfers the notion of ressentiment onto the contemporary Ukrainian (J. Andruchowycz) and Polish (A. Stasiuk) prose. She describes ressentiment as a crucial component of Ukrainian postcolonial awareness that manifests itself mainly in the prose. Anticolonial covetousness and postcolonial rebellion determine the amplitude of emotional manifestations of ressentiment. The above mentioned writers display an idealisation of Central Europe as a world rich in values that were not colonised, thus representing a chance for liberation from the demeaning influence of ressentiment.

ISSN: 1733-165X

]]>emilka@amu.edu.pl (Gundurowa, Tamara)„Porównania” nr 4Thu, 05 Jan 2012 22:01:36 +0000Reconstructions and Destructions of History in the Polish Cinema after 1989http://porownania.amu.edu.pl/index.php?option=com_content&view=article&id=104%3Arekonstrukcje-i-dekstrukcje-historii-w-polskim-kinie-po-1989&catid=39%3Aporownania-nr-4&Itemid=91&lang=en
http://porownania.amu.edu.pl/index.php?option=com_content&view=article&id=104%3Arekonstrukcje-i-dekstrukcje-historii-w-polskim-kinie-po-1989&catid=39%3Aporownania-nr-4&Itemid=91&lang=enThe article is an attempt of a synthetic perspective on the Polish cinema after 1989 that discusses the past. After 1989 films about the past seized to perform the function they used to perform in the post-war period, that of indirect and symbolical communication. The contemporary cinema that undertakes the issue of the past balances between the area of social memory, myths and history. It refers to knowledge obtained from objective historical sources, revalues social ideas about the past, obliterates old myths, revives the forgotten ones and calls into being new ones.

ISSN: 1733-165X

]]>emilka@amu.edu.pl (Dabert, Dobrochna)„Porównania” nr 4Thu, 05 Jan 2012 22:00:24 +0000The Urban Area and the Breakthrough. Tadeusz Konwicki’s „Czytadło”, Christa Wolf’s „Aż do trzewi”http://porownania.amu.edu.pl/index.php?option=com_content&view=article&id=103%3Aprzestrze-miejska-i-przeom-qczytadoq-tadeusza-konwickiego-i-qa-do-trzewiq-christy-wolf&catid=39%3Aporownania-nr-4&Itemid=91&lang=en
http://porownania.amu.edu.pl/index.php?option=com_content&view=article&id=103%3Aprzestrze-miejska-i-przeom-qczytadoq-tadeusza-konwickiego-i-qa-do-trzewiq-christy-wolf&catid=39%3Aporownania-nr-4&Itemid=91&lang=enThe article deals with the creation of the urban area of East Berlin and Warsaw in the light of the political breakthrough during the years of 1989-1990. The selection of Tadeusz Konwicki’s works entitled “Czytadło” and Christa Wolf’s “AŜ do trzewi” stems from a similar narrative situation (the characters’ journeys through the changing sceneries of the capitals, similar narrative strategies) which is a monologue said in the form of “boring into” the layers of the speaker’s memory and similarly perceived account taking – by means of bestowing symbolical value to fragments of the city. The Warsaw sceneries do not resemble the East Berlin ones. Insofar as it is seen in the eyes of the narrator of “Czytadło” the Polish capital becomes a place of easternwestern colonization in the transformation times. Yet, Berlin in Wolf’s short story is a dead city, existing only in the realm of dream and memory. Wolf’s short story utilizes the body-world metaphor to show that the healing process of the narrator is connected with revealing other levels of the history of East Berlin.

ISSN: 1733-165X

]]>emilka@amu.edu.pl (Kledzik, Emilia)„Porównania” nr 4Thu, 05 Jan 2012 21:58:10 +0000Polish Comedy after 1989 versus Great Myths and Sins of the Pasthttp://porownania.amu.edu.pl/index.php?option=com_content&view=article&id=102%3Apolska-komedia-filmowa-po-1989-roku-wobec-wielkich-mitow-i-grzechow-przeszoci&catid=39%3Aporownania-nr-4&Itemid=91&lang=en
http://porownania.amu.edu.pl/index.php?option=com_content&view=article&id=102%3Apolska-komedia-filmowa-po-1989-roku-wobec-wielkich-mitow-i-grzechow-przeszoci&catid=39%3Aporownania-nr-4&Itemid=91&lang=enThe Polish comedy in the 1990s and the first years of the new century reflected the mixed feelings with which the Poles welcomed the long-awaited freedom. In the times of systemic and cultural transformation, key tradition – romanticism and the Polish film school – became an indicator of the audience’s readiness for mental changes. As examples the author has chosen comedies-grotesques of makers with an acknowledged output, that stem from the cinema of moral anxiety – Marek Koterski and Stanisław Tym. Marek Koterski through his character, Adam Miauczyński – the Polish language teacher, showed the disappointment of the intelligence with the democratic government, its pauperisation and ahistorical attachment to the romantic paradigm.

ISSN: 1733-165X

]]>emilka@amu.edu.pl (Talarczyk-Gubała, Monika)„Porównania” nr 4Thu, 05 Jan 2012 21:56:45 +0000On Overcoming the Socialist Past of East Germany and „the Breakthrough” in the German Filmhttp://porownania.amu.edu.pl/index.php?option=com_content&view=article&id=101%3Ao-przezwycianiu-socjalistycznej-przeszoci-nrd-oraz-qprzeomuq-w-filmie-niemieckim&catid=39%3Aporownania-nr-4&Itemid=91&lang=en
http://porownania.amu.edu.pl/index.php?option=com_content&view=article&id=101%3Ao-przezwycianiu-socjalistycznej-przeszoci-nrd-oraz-qprzeomuq-w-filmie-niemieckim&catid=39%3Aporownania-nr-4&Itemid=91&lang=enThe text is devoted to German films that deal with reckoning with the socialist past. The first films that attempted to reckon with the times of real socialism were produced after the breakthrough during the unification process of Germany. The activity of the secret Stasi police is a pivotal topic in these films. The protagonist are mostly party officers, sneaks, but also regular citizens with a conformist attitude towards the socialist reality. The films produced since the mid 1990s, usually as comedies, psychological dramas or detective stories, reveal symptoms of “nostalgia”, that is longing for stability and prosperity in East Germany.

ISSN: 1733-165X

]]>emilka@amu.edu.pl (Trepte, Hans-Christian)„Porównania” nr 4Thu, 05 Jan 2012 21:55:21 +0000On the New Historic-Literery Paradigm, History, Canon and Literature Researcheshttp://porownania.amu.edu.pl/index.php?option=com_content&view=article&id=100%3Ao-nowym-historycznoliterackim-paradygmacie-historii-kanonie-i-badaczach-literatury&catid=39%3Aporownania-nr-4&Itemid=91&lang=en
http://porownania.amu.edu.pl/index.php?option=com_content&view=article&id=100%3Ao-nowym-historycznoliterackim-paradygmacie-historii-kanonie-i-badaczach-literatury&catid=39%3Aporownania-nr-4&Itemid=91&lang=enThe author questions the possibility of writing the history of national literature by means of post-modern research methodologies. The post-modern humanistics disregards previous assumptions of continuity, essentialism, cohesion and the assumption of the existence of historical truth which basically precludes writing the history of literature and the history as, e.g. a national whole, in the methodological sense. The author considers this issue in relation with the Czech discussion about the scientific paradigms on the canon of Czech literature that operate in humanistics. He rejects the antiessentialists’ radicalism, undermines the focus of the researchers exclusively on intellectual constructs and is sceptical about the present domination of historic-literary theory over practice. The author claims that, despite the pressure from antiessentialists, the kernel of the Czech literature and historical studies should still be the search for the identity of national literature, defining its relations with other cultures and processes, and an attempt to discover national and supranational values in Czech literature that could be at present showed as canonical.